This article explores how Afro-Brazilians outline their Africanness via Candomblé and Quilombo types, and build paradigms of blackness with affects from US-based views, in the course of the vectors of public rituals, carnival, drama, poetry, and hip hop.

The heavily entwined histories of Portugal and Brazil stay key references for realizing developments-past and present-in both kingdom. hence, Fernando Arenas considers Portugal and Brazil relating to each other during this exploration of adjusting definitions of nationhood, subjectivity, and utopias in either cultures.

This quantity explores problems with black lady identity through a number of the "imaginings" of the black girl physique in print and visible culture. Offering an exploration of the continuities and discontinuities of subjectivity and organization, this assortment finds black women's expressivity as a multilayered company, releasing and equally confining.

Argentina's best-known author in the course of his lifetime, Leopoldo Lugones's paintings spans many literary types and ideological positions. He was once influential as a modernist poet, as a precursor of the avant-garde, and likewise because the poet of Argentine nature. His brief tales (Las Fuerzas Extranas: 1906) have been early examples of the glorious in Latin American fiction and prompted Borges, Quiroga, and others.

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Candomblê Beginnings and Terreiro Formations Although scholars cannot quite agree on its etymology and meaning, the origination of the term Candomblé points to a Bantu-Kongo matrix and is derived from the term Kandombele (Omari-Tunkara, Manipulating 2; Merrell 16). Harding relays that the term is suggestive of the devotional attitude of the adherents in the practice of the religion (Refugee 45); Omari-Tunkara extends the meaning to encompass the aspects of dance, festivity, and musicality in the rituals (Manipulating 2).

30 He was undoubtedly an important character in the network of relations with Marcelina da Silva, and Lisa Earl Castillo (2011a) speculates that he had a relation of indebtedness to her through the Yoruba iwofa system,31 because archival documents show that Marcelina was involved in the purchasing of his freedom. Castillo (2010a) details multiple journeys of Rodolfo Martins to the Yorubaland and other parts of Brazil. As a Babalowo, his services were in demand not only in the processes of divination but also in creating the opening rituals for Candomblé terreiros, namely, generating their siré.

As the guardian of the Ketu people, his ascendancy can easily be explained by the number of Ketus sold in the transatlantic trade. Yet Ochossi is also the orisa of justice, and his symbol is the bow and arrow. In dance, his devotees join the tips of their fingers to form a triangular arch, patterned after this bow and arrow. When accessed, it is said that he shoots straight to the heart of any matter to correct wrongs and to guarantee his supplicants victory over all malfeasance. Made manifest in the everyday reality of Afro-Brazilians today, the Yoruba nomenclature Araketu [the people of Ketu] is the name given to the popular carnival bloco afro dedicated to Ochossi.